"I popped Morrison's video into my VCR and within a few further minutes I found myself completely absorbed, transfixed, a pillow of air lodged in my stilled, open mouth.

Now, I'm no particular authority on film, but I do know one -- Errol Morris. A short time later, when I happened to be visiting him, I popped the video into his VCR and proceeded to observe as Morrison's film once again began casting its spell. Errol sat drop-jawed: at one point, about halfway through, he stammered, ''This may be the greatest movie ever made.''

"A stirring, haunting modern masterpiece...
Bill Morrison has created a unique artefact, as enigmatically authoritative as Max Ernst's collage novel Une Semaine de Bonté. It makes you think of Joseph Cornell's memory boxes, Robert Rauschenberg's time-stuffed assemblages, Anger, Hitchcock. It makes you feel that the art, as opposed to the business, of cinema does have a future - even if it has to be found deep in the past."

"A work of nihilistic energy and harsh, uncompromising beauty, capable of sustaining multiple readings and interpretations. It is, in short, a work of real art. There are precedents for this sort of thing but nothing remotely of this scale, much less power. The final coup is a genuinely transformative and unforgettable experience."
- Shane Danielsen, 56th Edinburgh International Film Festival

"A pure poetry of deliquescence. The images are at once haunting, mysterious and incredibly beautiful. A definitive work of art. And a new kind of documentary. A documentary documenting the decay of itself."
- Errol Morris, filmmaker